The Squid's Ear
Recently @ Squidco:

Instant Composers Pool:
Incipient ICP, 1966-71 [2 CDs] (Corbett vs. Dempsey)

Founded in 1967 by pianist Misha Mengelberg, drummer Han Bennink, and saxophonist & clarinetist Willem Breuker, this double CD documents the earliest years of the ICP collective through live & studio recordings from 1966-71, with an impressive cast of jazz and contemporary compositional players creating a delightfully diverse set of approaches to improvisation. ... Click to View


Vario 34 (Christmann / Frangenheim / Gustafsson / Lehn / Lovens):
Vario 34-3 (Corbett vs. Dempsey)

Since 1979 cellist & trombonist Günter Christmann has led around 50 variations of "Vario", inviting musicians, actors, dancers, & filmmakers to partake; Vario 34--Christmann, Paul Loven (percussionist), Mats Gustafsson (sax), Thomas Lehn (live-electronics), and Alexander Frangenheim (bass)--first performed in 1993, and these Berlin recordings are from their 3rd meeting in 2018. ... Click to View


Van Dykes Park:
The Histories (Old Black Joe) [7'' Vinyl] (Corbett vs. Dempsey)

... Click to View


Dan Weiss Starebaby:
Natural Selection (Pi Recordings)

The follow-up to NY drummer/composer Dan Weiss's 2018 release Starebaby is an unconventional compounding of electric jazz, doom metal, electronic music, and improvisation, performed with Matt Mitchell on piano & Prophet 6, Craig Taborn on piano, Fender Rhodes & synthesizers, Ben Monder on guitars, and Trevor Dunn on electric bass. ... Click to View


Hafez Modirzadeh (Davis / Sorey / Taborn):
Facets (Pi Recordings)

Using an unusual re-tuning of the piano, saxophonist Hafez Modirzadeh enlists three inventive pianists--Kris Davis, Tyshawn Sorey, and Craig Taborn--for a set of melodically-oriented duos, Modirzadeh using alternate fingerings and embouchure adjustments to achieve intervals between major and minor, together freeing the improvisers to explore new tonal possibilities. ... Click to View


Cyclone Trio (Massimo Magee / Tim Green / Tony Irving):
The Clear Revolution (577)

An exciting album of free jazz from the Australia/London-based Cyclone Trio, their name apt in the feverish interaction between saxophonist Massimo Magee and dual drummers Tony Irving and Tim Green on the opening work, the album patterned like a storm that slows introspectively for a quiet eye, then drums up a final gale force that dissipates to a sort of calm; brilliant. ... Click to View


Fred Lonberg-Holm :
Lisbon Solo [CASSETTE + DOWNLOAD] (Notice Recordings)

Using a variety of extended techniques, Chicago cellist Fred Lonberg-Holm conjures a barrage of multiphonics, interwoven timbral excursions and minuscule textural knots lined along the peripheral architecture of these pieces, captured live in the studio at at Namouche Studios, in Lisbon in 2019 for a series of 10 fascinating and distinctive free improvisations. ... Click to View


Gabby Fluke-Mogul :
Threshold (Relative Pitch)

Applying extended techniques from rubbing & scraping to sawing and striking, New York violinist Gabby Fluke-Mogul presents a bold solo violin album of 6 pieces with titles like "Bruise" or "Teeth", drawing an incredible gamut of unusual sounds from the violin and its body, occasionally adding vocal utterance, all laid out with a wonderfully quirky sense of timing. ... Click to View


Signe Emmeluth:
Hi Hello I'm Signe (Relative Pitch)

A single piece recorded live for Ingebrit Haker Flaten's 2020 Sonic Transmissions Festival finds the Danish saxophonist in an extended improvisation of varying moods, applying a diverse set of methods and technical approaches to the horn, from quiet meditate work to full-throated exuberance, in a remarkably personal journey of confident exposition. ... Click to View


Periferiya (Kobi / Korber / Liedwart / Muller / Myasoedov / Shershenkov) :
Boundary Scan [VINYL 2 LPs] (Mikroton Recordings)

A Russian-Swiss collaboration between Boris Shershenkov (St. Petersburg), Kurt Liedwart and Mikhail Myasoedov (Moscow), Thomas Korber (Zurich), Christian Kobi (Berne) and Christian Muller (Biel), recording in the remote Vallée de Joux, on the border between Switzerland & France, leveraging diverse approaches to sound to create these six detailed electroacoustic improvisations. ... Click to View


Paul Dunmall / Percy Pursglove / Olie Brice / Jeff Williams:
Palindromes (West Hill Records)

Capturing their 2nd gig together, double bassist Olie Brice and trumpeter Percy Pursglove invited two prominent improvisers who had never played together before — drummer Jeff Williams and tenor saxophonist Paul Dunmall — to join them for a 2020 concert at Cafe Oto in London, presented into two palindromic-ally named and profound improvisations: "Tattarratta" 1 & 2. ... Click to View


Trondheim Jazz Orchestra & The Maxx:
Live [VINYL] (MNJ)

The Norwegian big band Trondheim Jazz Orchestra joins together with the Swedish-origin trio The MaXx (Oscar Gronberg-keyboards, Petter Kraft-guitar & saxophone, Tomas Jarmy-drums) to develop and perform this monumental work of modern electric jazz, an abstract rock opera written specifically to leverage the power of the Trondheim Jazz Orchestra. ... Click to View


Ashbury Stabbins Duo:
Fire Without Bricks (Corbett vs. Dempsey)

A lost gem from of British free sax and drums & percussion duo of saxophonist Larry Stabbins and percussionist Roy Ashbury, originally released in 1976 on the Bead Label, their interplay including masterful and extended techniques from Stabbins and an array of chimes, chains, wood blocks, shakers, and bowed cymbals augmenting Ashbury's kit; captivating dialog. ... Click to View


Marek Malinowski Trio:
Scratching Fork (Listen! Foundation (Fundacja Sluchaj!))

Working together since 2015, the Polish guitar trio of Marek Malinowski on guitar, Robert Rychlicki-Gasowski on double bass & bass guitar, and Wojciech Zadruaynski on drums, present Marek Malinowski's embraceable mix of lyrically inclined modern jazz compositions with an explorative side, balancing structure with free space for sprightly spontaneity; a trio to keep track of. ... Click to View


The Underflow (Gustafsson / Grubbs / Mazurek):
Instant Opaque Evening [VINYL 2 LPs] (Blue Chopsticks)

The followup to their 2019 Corbett vs. Dempsey album and formalizing their trio name as "The Underflow", is an epic double LP of diverse and inspired free-ea from the trio of Mats Gustafsson on flute, fluteophone, baritone saxophone & live electronics, David Grubbs on electric guiar & voice, and Rob Mazurek on piccolo trumpet, wooden flute, electronics, percussion & voice. ... Click to View


MKM (Norbert Moslang / Jason Kahn / Gunter Muller):
Bangalore [VINYL] (Mikroton Recordings)

A stunning album of electroacoustic improv that truly pushes the envelope, from the MKM trio of Gunter Muller on iPods & electronics, Jason Kahn on modular synthesizer, mixer & radio, and Norbert Moslang on cracked everyday electronics, three masters of the form in their 5th Mikroton release after decades working together in configurations on labels like For4Ears. ... Click to View


Hermann Nitsch:
Musik der 155. Aktion [2 CDs] (Tochnit Aleph)

Recording of the premiere performance of Hermann Nitsch's large-scale symphony for full orchestra, brass ensemble and choir, in five movement, composed for the 155th Action of the Orgien-Mysterien-Theater, and performed in 2018 as the first action to be staged in the Nitsch Museum, Mistelbach, coinciding with the occasion of Nitsch's 80th birthday. ... Click to View


Catherine Lamb :
Muto Infinitas (Another Timbre)

A 50-minute duo minimalist composition for quartertone bass flute and double bass in just intonation from composer Catherine Lamb, who refers to the tuning structure as "rational" intonation, the piece unmetered as the melody emerges almost imperceptibly; recorded in Andreaskirche, Berlin in 2019 and performed by Rebecca Lane (flute) and Jon Heilbron (bass). ... Click to View


Various Artists curated by Nick Vander:
Walk My Way, Volume Three (Orbit577)

... Click to View


Joshua Abrams:
Natural Information [VINYL] (AGUIRRE RECORDS)

Joshua Abrams' (Town & Country, Matana Roberts & Chad Taylor, &c) 2010 album in an infectious groove-based album built around the guimbri, a 3-stringed animal hide bass used by the Gnawa of North Africa, performed with Chicago all-stars Jason Adasiewicz on vibraphone, Emmett Kelly on guitar, Frank Rosaly on drums, and Noritaka Tanaka on drums. ... Click to View


Paul Dunmall / Matthew Shipp / Joe Morris :
The Bright Awakening (RogueArt)

A brilliant example of trans-Atlantic collective free improv from the quartet of New York free jazz heavies Matthew Shipp on piano, Joe Morris on double bass, Gerald Cleaver on drums, and UK tenor saxophonist Paul Dunmall, playing in the tradition of ecstatic and extended free jazz in a nearly hour long live performance recorded at Roulette in Brooklyn in 2012. ... Click to View


Matthew Shipp / Evan Parker:
Leonine Aspects (RogueArt)

Meeting in France in 2017 for the Festival Météo de Mulhouse, Evan Parker alternating between soprano and tenor saxophones and Matthew Shipp on acoustic piano, present an epic extended improvisation that naturally evolves through several sections, followed by a brief post-script, each musician attentively focused as they support the clarity of each other's playing. ... Click to View


Ikue Mori / Satoko Fujii / Natsuki Tamura:
Prickly Pear Cactus (Libra)

Extending their previous collaborations during the time of pandemic, NY electronic improviser Ikue Mori and Japanese improvisers Natsuki Tamura on trumpet and Satoko Fujii on piano developed this extraordinary ea-improv album via file exchange, starting with Fujii's piano improvisations to which Mori & Tamura added their layers, with Mori mixing the final, startling results. ... Click to View


Albert Ayler Quintet 1966:
Berlin, Lorrach, Paris & Stockholm. Revisited [2 CDs] (ezz-thetics by Hat Hut Records Ltd)

Tenor saxophonist Albert Ayler's 1966 quintet brought a unique orchestration to his music, heard in these live performances in Berlin, Lörrach, Paris & Stockholm in November of 1966, four concerts presented chronologically as performed with the exemplary playing of brother Donald Ayler on trumpet, Michel Samson on violin, William Folwell on bass, and Beaver Harris on drums. ... Click to View


Jim O'Rourke / Apartment House:
Best That You Do This For Me (Another Timbre)

The UK ensemble Apartment House commissioned this work from composer & experimenter Jim O'Rourke based on their performance of other O'Rourke works, here interpreting a new graphic score designed like a sonic mobile, creating a minimal yet episodic piece of flexible interpretation as the performers whistle, hum and quietly sing in combination with bowed harmonics. ... Click to View


Josten Myburgh:
Sculthorpe Studies (Another Timbre)

A large work by the Western Australian composer Josten Myburgh, using harmonies taken from the music of Australian composer Peter Sculthorpe blended with environmental field recordings, performed by Josten Myburgh on sax & electronics, Jet Kye Chong on percussion, Jameson Feakes on guitar, Djuna Lee on bass, Stuart James on piano & electronics, and Kirsten Smith on flutes. ... Click to View


Claire Chase:
Density 2036 [4 CDs] (Corbett vs. Dempsey)

Part of flutist Claire Chase's project to commission a modern body of work for the instrument, this 4-CD set features 17 works by 15 composers, including the multi-part album-long composition "Pan" by Brazilian-born Marcos Balter, with works for the entire flute family from piccolo to contrabass flute; participants include Tyshawn Sorey, Vijay Iyer, Pauline Oliveros, &c. ... Click to View


Sun Ra Quartet:
The Sky Is A Sea of Darkness When There is No Sun To Light The Way/Somewhere in Space [7-inch VINYL] (Art Yard)

A 7" single of two recordings from the Sun Ra Quartet, the first a 1978 recording featuring John Gilmore's "The Sky Is A Sea Of Darkness When There Is No Sun To Light The Way" performed with Michael Ray on trumpet, Luqman Ali on drums, and Gilmore on sax; the B-side presenting a 1958 version of "Somewhere in Space"; 70gm vinyl with picture sleeve. ... Click to View


Bill Dixon:
In Italy - Volume One [VINYL] (Soul Note Vinyl)

Originally released in 1980, this album reissues late trumpeter Bill Dixon's recording from Barigozzi Studio, in Milano, Italy in 1980, performing Dixon's tapestry-like compositions with Dixon on trumpet & piano, Arthur Brooks on trumpet, Stephen Haynes on trumpet, Stephen Horenstein on tenor & baritone saxophones, Alan Silva on bass, and Freddie Waits on drums. ... Click to View


Jessica Ackerley / Patrick Shiroishi:
Extremities [CASSETTE + DOWNLOAD] (Notice Recordings)

Employing a variety of strategies to free improv, guitarist Jessica Ackerley and saxophonist Patrick Shiroishi present 9 diverse dialogs, from nearly silent and introspective interaction to full blown exclamation, using exceptional technique to coax unusual sounds from their instruments, always in service to well conceived momentum and expression. ... Click to View



  •  •  •     Join Our Mailing List!



The Squid's Ear
Facebook: Squidco Sales



  Susie's Aria  

Drummer Susie Ibarra Premieres her First Opera


By Steve Smith
Photos by Kurt Gottschalk 2003-06-20

Susie Ibarra Ever since Susie Ibarra burst onto the international jazz scene in the early 1990s, the versatile young percussionist and composer has made it eminently clear that there is no boundary to her artistic vision, nor any assumption she was content to leave unchallenged. As a member of groups led by David S. Ware, William Parker and Matthew Shipp, Ibarra held her own among decidedly heavyweight company in a field still largely dominated by male performers. The ferocious energy and sinuous grace of her drumming cast aside any considerations of gender, as she quickly became a much-demanded collaborator for such leading maverick artists as Derek Bailey, John Zorn and Pauline Oliveros.

Ibarra stepped out on her own as a bandleader in 1999, asserting her growing confidence as a composer. Her fresh, original musical voice bears the influence of jazz, blues, contemporary composition, gamelan and the traditional music of her Philippine heritage. That voice has been manifested in a chamber music-influenced trio, a fiery mainstream jazz quartet and the hypnotically grooving Electric Kulintang project. At the same time, Ibarra has also been active in the free-improv trio Mephista, alongside pianist Sylvie Courvoisier and electronics performer Ikue Mori.

For most performers, the furious pace at which Ibarra's calendar fills up would prove more than sufficient. But for the last year, she was also hard at work on a project that any composer might find daunting, and one that most jazz-related artists would never consider tackling in the course of a career: The 32-year-old composer has just completed her first opera.

Based on a libretto by the Pulitzer Prize-winning poet Yusef Komunyakaa, Shangri-La received its world premiere on June 14 at the Mill Hill Playhouse in Trenton, New Jersey, produced by Passage Theater Company. Despite its bucolic title, Shangri-La is a challenging work, taking as its subject matter three Western businessmen drawn into the sex trade in Thailand, and their inability to escape the situation in which they find themselves.

The two-hour chamber opera featured a nine-member cast with a traditional Thai vocalist, two sopranos, one mezzo-soprano, two tenors, a baritone and a bass-baritone. Noted composer Tania Leon led an ensemble that included regular Ibarra collaborators Craig Taborn on piano, Trevor Dunn on bass and Roberto J. Rodriguez on percussion, alongside flutist Thea Reynolds, violinists Meg Okura and Joyce Hammon, violist Carol Cook and cellist Egil Rostad. Ibarra herself did not perform in the piece, for which she supplied a through-composed score that still provides for a degree of improvisatory freedom from the soloists.

Perhaps the most obvious question is why Ibarra would be interested in composing an opera at all. Blame it on her youth: Opera played an important role in Ibarra's childhood. "My mother took me to the opera when I was a kid," she said, her voice animated by a breathless ebullience that colors a conversation generously punctuated by laughter. "She had season tickets. My father's not an opera fan, and my brothers and sisters didn't want to go. I was the youngest, so I would be the one going with her."

For Ibarra, who grew up in Seabrook, Texas, a small town located between Houston and Galveston, this meant seeing first-class performances at Houston Grand Opera, one of the nation's most renowned and ambitious companies. "I grew up seeing incredible productions at Houston Grand Opera. In a way, this project takes me back to my childhood, because I have all these memories of different classical operas."

It was partially that childhood familiarity that led Ibarra to sign onto the current project when Komunyakaa, who conceived Shangri-La, proposed it to her. A Trenton resident and Princeton University professor, Komunyakaa is widely revered for his rhythmic, almost reportorial style. Many of his works have touched on musical themes; one, the epic-length Testimony, based on the life and art of Charlie Parker, was adapted as an opera by Australian jazz composer and saxophonist Sandy Evans for broadcast by the Australian Radio Company in 1999, and staged by the Melbourne Festival at the Sydney Opera House in January of this year.

Ibarra first met Komunyakaa in 1997, and felt an immediate affinity with the Louisiana-born poet. She accompanied him in several readings, and played behind him on Herido, a vibrant, bluesy session Komunyakaa co-led with Dallas-based trumpeter Dennis Gonzalez, which was issued by 8th Harmonic Breakdown in 2001. Despite her youthful passion for mainstream operatic lore, however, what attracted Ibarra most to Komunyakaa's project was its thoroughly contemporary subject matter - a refreshing anomaly in a contemporary opera scene still predominately mired in the reheated verismo of recent pieces like Therese Raquin, Little Women and A View from the Bridge.

"Yusef originally had the idea [for the opera] from a magazine article he came upon," Ibarra said. "It mentioned how British and European businessmen were going over to Thailand on sex tours, and how they were committing suicide and never coming back. It's set in Bangkok, but it touches on things that happen in a lot of countries, not just Southeast Asia. This stuff goes on in Cuba, it goes on in Eastern Europe, it happens pretty much everywhere. It's a story about paradise and hell-and how paradise can turn into hell-and it also touches on the AIDS epidemic, which is out of control in the sex trade."

The main character in Shangri-La is John Wong, "a Chinese-American metaphysical detective from San Francisco who is hired to go to Bangkok to investigate an embezzlement scheme," according to Ibarra. The three western businessman are Paul, a middle-aged African-American Vietnam veteran, Eddie, a troubled younger man, and David, the sleazy drug smuggler who is actually guilty of the crime Wong is investigating. Alee is a waitress who has a sideline in translating letters into English. Other characters include three women, Noe, Mana and Pidang, and the Barker, who runs the club. The cast may be unconventional, but the drama that results from their intersection is certainly operatic in scope.

"As musicians, we live with music and sound," Ibarra said. "We write songs, not characters. But writers live with these characters. So I've been living with these characters, and it's been really cool to experience that. Living with these characters for such a long time, they become real, like they're right behind you. It really is fun."

Though it may initially seem far-fetched to imagine an opera written by an avant-garde jazz drummer, for anyone who knows Ibarra's own recordings, it doesn't take a giant leap of imagination to understand why Komunyakaa sensed that she might be up to the challenge. Much of the music she has composed for her trio - particularly the current lineup that features Taborn and violinist Jennifer Choi - combines the rigor and transparency of chamber music with an unmistakable sense of narrative drama.

Increasingly recognized for her work as a composer, Ibarra was recently commissioned by the Smithsonian Institution to compose Lakbay, an extended suite for her trio that was premiered in December at the Freer Gallery in Washington, DC, in conjunction with an exhibition of photography by Filipino American artist Ricardo Alvarado. Ibarra has been tapped to write two new works for the Kronos Quartet (she will also perform in one of them), and she is also scoring two forthcoming documentariesby Chinese filmmaker Yan Jin.

Still, while Ibarra is not the first jazz composer to take a crack at opera,there have been few predecessors to whom she could turn for inspiration. The best known, of course, is pianist Anthony Davis, whose first opera, X, based on the life of Malcolm X, was produced to widespread acclaim in Philadelphia and New York in 1986. (It's notable, perhaps, that Davis-like his fellow improvisor Ibarra-was drawn to a contemporary subject for operatic treatment.) Davis has since composed three further operas: Under the Double Moon, a science fiction work; Tania, based on the kidnapping of Patty Hearst; and Amistad, detailing the historic slave-ship revolt and subsequent trial.

Other jazz composers have turned to more archetypal allegories for their operatic subjects, such as Leroy Jenkins's Mother of Three Sons, successfully staged by the Bill T. Jones/Arnie Zane Dance Company at Houston Grand Opera and elsewhere, and Anthony Braxton's Trillium R: Shala Fears for the Poor, critically lambasted after its New York premiere. Julius Hemphill employed a still more idiosyncratic approach in his Long Tongues: A Saxophone Opera, abstaining from using singers altogether. The one thing that unites all of these disparate works, unfortunately, is that none has found a place in the standard repertoire and only three (X, Tania, Trillium R) have been recorded, making it nearly impossible for a young artist like Ibarra to hear and learn from them.

Instead, Ibarra immersed herself in contemporary opera scores and recordings. She cites György Ligeti's dark, surreal Le Grande Macabre as a particular favorite, owing in part to its near-improvisatory freedom of expression. Ibarra admits to having been a bit overwhelmed initially by the notion of composing a work of such scale, particularly in light of her own daunting schedule. "I was intimidated by the fact that it could be quite long!" she said. "To me, time was of the essence. But you just have to break it down, and you just do it-like anything, you just begin.The libretto was written pretty quickly, and I find Yusef's words very musical, so it was really easy for me to write with them."

When she finally began to compose Shangri-La in earnest, the music that poured forth reflected her own personality and that of her collaborator, rather than slavishly imitating any particular past master. "Whatever you do, it's going to sound like you," Ibarra says. "There's an influence of Thai music, both traditional percussion and the classical court style. There's some gong music. And there's definitely a blues influence, because I feel that Yusef's writing is so heavily influenced by the blues. It's really kind of an interpretation of his words."

Given the difficulties and expense involved in mounting operatic productions, it's far too soon to tell what the ultimate fate of Shangri-La will be. Ibarra's prognosis is upbeat, however; Passage Theatre hopes to mount a full-scale production of the work, and presenters in New York City and elsewhere have indicated their interest. Meanwhile, emboldened by the experience of creating the work, Ibarra eagerly envisions an ongoing working relationship with Komunyakaa.

"In an age of specialization, people just concentrate in their own medium," she says. "It used to be that artists were collaborating all the time. We've developed this great collaboration, and we have a lot of other ideas. We work well in this medium, and we get the chance to talk about a lot of important things that I think need to be talked about."



The Squid's Ear presents
reviews about releases
sold at Squidco.com
written by
independent writers.

Squidco

Recent Selections @ Squidco:


Paul Dunmall /
Matthew Shipp /
Joe Morris :
The Bright Awakening
(RogueArt)



Albert Ayler Quintet 1966:
Berlin, Lorrach,
Paris & Stockholm.
Revisited
[2 CDs]
(ezz-thetics by
Hat Hut Records Ltd)



Ikue Mori /
Satoko Fujii /
Natsuki Tamura:
Prickly Pear
Cactus
(Libra)



Matthew Shipp /
Evan Parker:
Leonine Aspects
(RogueArt)



Claire Chase:
Density 2036
[4 CDs]
(Corbett vs. Dempsey)



Instant Composers Pool:
Incipient ICP, 1966-71
[2 CDs]
(Corbett vs. Dempsey)



Vario 34
(Christmann /
Frangenheim /
Gustafsson /
Lehn /
Lovens):
Vario 34-3
(Corbett vs. Dempsey)



The Locals
(Thomas, Ward /
Thomas /
Lash /
Hasson-Davis):
The Locals Play
The Music Of
Anthony Braxton
(Discus)



Tomas Fujiwara
(w /
Brennan /
Reid):
7 Poets Trio
(RogueArt)



Natsuki Tamura /
Satoko Fujii /
Ramon Lopez:
Mantle
(Not Two)



Step In
(Carlo Morena /
Joe Fonda /
Felix Lecaros Herrera):
Voila La Tendresse
(Not Two)



Georg Graewe /
Sonic Fiction Orchestra:
Fortschritt und Vergnugen
(Random Acoustics)



Vasco Trilla:
Unmoved Mover
(Listen! Foundation
(Fundacja Sluchaj!))



Schnee
(Christof Kurzmann /
Burkhard Stangl):
Cher
[VINYL]
(Mikroton Recordings)



Alvin Curran /
Roberto Laneri /
Giancarlo Schiaffini:
Beat 72
Lost Date
(Eargong Records)



Don Cherry
Trio:
Live In Paris,
March 1979
[VINYL]
(Alternative Fox)



Various Artists
curated by
Nick Vander:
Walk My Way,
Volume One
(Orbit577)



Kassel Jaeger:
Meith
[VINYL]
(Black Truffle)



Archie Shepp:
Blase And
Yasmina
Revisited
(ezz-thetics by
at Hut Records Ltd)



Cecil Taylor Mixed To Unit:
Structures Revisited
(ezz-thetics by
Hat Hut Records Ltd)







Squidco
Click here to
advertise with
The Squid's Ear






The Squid's Ear pays its writers.
Interested in becoming a reviewer?




The Squid's Ear is the companion magazine to the online music shop Squidco !


  Copyright © Squidco. All rights reserved. Trademarks. (791)